Son House Blues performer What were the names of some of the songs he sang? My Black Mama" and "Preachin' the Blues". Were they his original songs or covers? Two songs he learned from McCoy would later be among his best known: " How did he become a blues singer? He immediately changed his attitude about the blues, How did his attitude change? Another source of inspiration was Rube Lacey,
Who was Rube Lacey?
Who was Rube Lacey?
In 1927, at the age of 25, House underwent a change of musical perspective as rapid and dramatic as a religious conversion. In a hamlet south of Clarksdale, he heard one of his drinking companions, either James McCoy or Willie Wilson (his recollections differed), playing bottleneck guitar, a style he had never heard before. He immediately changed his attitude about the blues, bought a guitar from a musician called Frank Hoskins, and within weeks was playing with Hoskins, McCoy and Wilson. Two songs he learned from McCoy would later be among his best known: "My Black Mama" and "Preachin' the Blues". Another source of inspiration was Rube Lacey, a much better known performer who had recorded for Columbia Records in 1927 (no titles were released) and for Paramount Records in 1928 (two titles were released). In an astonishingly short time, with only these four musicians as models, House developed to a professional standard a blues style based on his religious singing and simple bottleneck guitar style.  Around 1927 or 1928, he had been playing in a juke joint when a man went on a shooting spree, wounding House in the leg, and he allegedly shot the man dead. House received a 15-year sentence at the Mississippi State Penitentiary (Parchman Farm), of which he served two years between 1928 and 1929. He credited his re-examination and release to an appeal by his family, but also spoke of the intervention by the influential white planter for whom they worked. The date of the killing and the duration of his sentence are unclear; House gave different accounts to different interviewers, and searches by his biographer Daniel Beaumont found no details in the court records of Coahoma County or in the archive of the Mississippi Department of Corrections.  Upon his release in 1929 or early 1930, House was strongly advised to leave Clarksdale and stay away. He walked to Jonestown and caught a train to the small town of Lula, Mississippi, sixteen miles north of Clarksdale and eight miles from the blues hub of Helena, Arkansas. Coincidentally, the great star of Delta blues, Charley Patton, was also in virtual exile in Lula, having been expelled from his base on the Dockery Plantation. With his partner Willie Brown, Patton dominated the local market for professional blues performance. Patton watched House busking when he arrived penniless at Lula station, but did not approach him. He observed House's showmanship attracting a crowd to the cafe and bootleg whiskey business of a woman called Sara Knight. Patton invited House to be a regular musical partner with him and Brown. House formed a liaison with Knight, and both musicians profited from association with her bootlegging activities. The musical partnership is disputed by Patton's biographers Stephen Calt and Gayle Dean Wardlow. They consider that House's musicianship was too limited to play with Patton and Brown, who were also rumoured to be estranged at the time. They also cite one statement by House that he did not play for dances in Lula. Beaumont concluded that House became a friend of Patton's, traveling with him to gigs but playing separately. CANNOTANSWER
a much better known performer who had recorded for Columbia Records in 1927
Edward James "Son" House Jr. (March 21, 1902 – October 19, 1988) was an American delta blues singer and guitarist, noted for his highly emotional style of singing and slide guitar playing.

After years of hostility to secular music, as a preacher and for a few years also working as a church pastor, he turned to blues performance at the age of 25. He quickly developed a unique style by applying the rhythmic drive, vocal power and emotional intensity of his preaching to the newly learned idiom. In a short career interrupted by a spell in Parchman Farm penitentiary, he developed his musicianship to the point that Charley Patton, the foremost blues artist of the Mississippi Delta region, invited him to share engagements and to accompany him to a 1930 recording session for Paramount Records.

Issued at the start of the Great Depression, the records did not sell and did not lead to national recognition. Locally, House remained popular, and in the 1930s, together with Patton's associate Willie Brown, he was the leading musician of Coahoma County. There he was a formative influence on Robert Johnson and Muddy Waters. In 1941 and 1942, House and the members of his band were recorded by Alan Lomax and John W. Work for the Library of Congress and Fisk University. The following year, he left the Delta for Rochester, New York, and gave up music.

In 1964, a group of young record collectors discovered House, whom they knew of from his records issued by Paramount and by the Library of Congress. With their encouragement, he relearned his repertoire and established a career as an entertainer, performing for young, mostly white audiences in coffeehouses, at folk festivals and on concert tours during the American folk music revival, billed as a "folk blues" singer. He recorded several albums, and some informally taped concerts have also been issued as albums. House died in 1988.  In 2017, his single "Preachin' the Blues" was inducted in to the Blues Hall of Fame.

Biography

Early life 

House was born in the hamlet of Lyon, north of Clarksdale, Mississippi, the second of three brothers, and lived in the rural Mississippi Delta until his parents separated, when he was about seven or eight years old. His father, Eddie House, Sr., was a musician, playing the tuba in a band with his brothers and sometimes playing the guitar. He was a church member but also a drinker; he left the church for a time, on account of his drinking, but then gave up alcohol and became a Baptist deacon. Young Eddie House adopted the family commitment to religion and churchgoing. He also absorbed the family love of music but confined himself to singing, showing no interest in the family instrumental band, and hostile to the blues on religious grounds.

When House's parents separated, his mother took him to Tallulah, Louisiana, across the Mississippi River from Vicksburg, Mississippi. When he was in his early teens, they moved to Algiers, New Orleans. Recalling these years, he would later speak of his hatred of blues and his passion for churchgoing (he described himself as "churchy" and  "churchified"). At fifteen, probably while living in Algiers, he began preaching sermons.

At the age of nineteen, while living in the Delta, he married Carrie Martin, an older woman from New Orleans. This was a significant step for House; he married in church and against family opposition. The couple moved to her hometown of Centerville, Louisiana, to help run her father's farm. After a couple of years, feeling used and disillusioned, House recalled, "I left her hanging on the gatepost, with her father tellin' me to come back so we could plow some more." Around the same time, probably 1922, House's mother died. In later years, he was still angry about his marriage and said of Carrie, "She wasn't nothin' but one of them New Orleans whores".

House's resentment of farming extended to the many menial jobs he took as a young adult. He moved frequently, on one occasion taking off to East Saint Louis to work in a steel plant. The one job he enjoyed was on a Louisiana horse ranch, which later he celebrated by wearing a cowboy hat in his performances. He found an escape from manual labor when, following a conversion experience ("getting religion") in his early twenties, he was accepted as a paid pastor, first in the Baptist Church and then in the Colored Methodist Episcopal Church. However, he fell into habits which conflicted with his calling—drinking like his father and probably also womanizing. This led him after several years of conflict to leave the church, ceasing his full-time commitment, although he continued to preach sermons from time to time.

Blues performer

In 1927, at the age of 25, House underwent a change of musical perspective as rapid and dramatic as a religious conversion. In a hamlet south of Clarksdale, he heard one of his drinking companions, either James McCoy or Willie Wilson (his recollections differed), playing bottleneck guitar, a style he had never heard before. He immediately changed his attitude about the blues, bought a guitar from a musician called Frank Hoskins, and within weeks was playing with Hoskins, McCoy and Wilson. Two songs he learned from McCoy would later be among his best known: "My Black Mama" and "Preachin' the Blues". Another source of inspiration was Rube Lacey, a much better known performer who had recorded for Columbia Records in 1927 (no titles were released) and for Paramount Records in 1928 (two titles were released). In an astonishingly short time, with only these four musicians as models, House developed to a professional standard a blues style based on his religious singing and simple bottleneck guitar style.

Around 1927 or 1928, he had been playing in a juke joint when a man went on a shooting spree, wounding House in the leg, and he allegedly shot the man dead. House received a 15-year sentence at the Mississippi State Penitentiary (Parchman Farm), of which he served two years between 1928 and 1929. He credited his re-examination and release to an appeal by his family, but also spoke of the intervention by the influential white planter for whom they worked. The date of the killing and the duration of his sentence are unclear; House gave different accounts to different interviewers, and searches by his biographer Daniel Beaumont found no details in the court records of Coahoma County or in the archive of the Mississippi Department of Corrections.

Upon his release in 1929 or early 1930, House was strongly advised to leave Clarksdale and stay away. He walked to Jonestown and caught a train to the small town of Lula, Mississippi, sixteen miles north of Clarksdale and eight miles from the blues hub of Helena, Arkansas. Coincidentally, the great star of Delta blues, Charley Patton, was also in virtual exile in Lula, having been expelled from his base on the Dockery Plantation. With his partner Willie Brown, Patton dominated the local market for professional blues performance. Patton watched House busking when he arrived penniless at Lula station, but did not approach him. He observed House's showmanship attracting a crowd to the café and bootleg whiskey business of a woman called Sara Knight. Patton invited House to be a regular musical partner with him and Brown. House formed a liaison with Knight, and both musicians profited from association with her bootlegging activities. The musical partnership is disputed by Patton's biographers Stephen Calt and Gayle Dean Wardlow. They consider that House's musicianship was too limited to play with Patton and Brown, who were also rumoured to be estranged at the time. They also cite one statement by House that he did not play for dances in Lula. Beaumont concluded that House became a friend of Patton's, traveling with him to gigs but playing separately.

Recording 
In 1930, Art Laibly of Paramount Records traveled to Lula to persuade Patton to record several more sides in Grafton, Wisconsin. Along with Patton came House, Brown, and the pianist Louise Johnson, all of whom recorded sides for the label. House recorded nine songs during that session, eight of which were released, but they were commercial failures. He did not record again commercially for 35 years, but he continued to play with Patton and Brown, and with Brown after Patton's death in 1934. During this time, House worked as a tractor driver for various plantations in the Lake Cormorant area.

Alan Lomax recorded House for the Library of Congress in 1941. Willie Brown, the mandolin player Fiddlin' Joe Martin, and the harmonica player Leroy Williams played with House on these recordings. Lomax returned to the area in 1942, where he recorded House once more.

House then faded from the public view, moving to Rochester, New York, in 1943, and working as a railroad porter for the New York Central Railroad and as a chef.

Rediscovery 

In 1964, after a long search of the Mississippi Delta region by Nick Perls, Dick Waterman and Phil Spiro, House was "rediscovered" in Rochester, New York working at a train station. He had been retired from the music business for many years and was unaware of the 1960s folk blues revival and international enthusiasm for his early recordings.

He subsequently toured extensively in the United States and Europe and recorded for CBS Records. Like Mississippi John Hurt, he was welcomed into the music scene of the 1960s and played at the Newport Folk Festival in 1964, the New York Folk Festival in July 1965, and the October 1967 European tour of the American Folk Festival, along with Skip James and Bukka White.

The young guitarist Alan Wilson (later of Canned Heat) was a fan of House's. The producer John Hammond asked Wilson, who was just 22 years old, to teach "Son House how to play like Son House," because Wilson had such a good knowledge of blues styles. House subsequently recorded the album Father of Folk Blues, later reissued as a 2-CD set Father of Delta Blues: The Complete 1965 Sessions. House performed with Wilson live, as can be heard on "Levee Camp Moan" on the album John the Revelator: The 1970 London Sessions.

House appeared in Seattle on March 19, 1968, arranged by the Seattle Folklore Society. The concert was recorded by Bob West and issued on Acola Records as a CD in 2006. The Arcola CD also included an interview of House recorded on November 15, 1969 in Seattle.

In the summer of 1970, House toured Europe once again, including an appearance at the Montreux Jazz Festival; a recording of his London concerts was released by Liberty Records. He also played at the two Days of Blues Festival in Toronto in 1974. On an appearance on the TV arts show Camera Three, he was accompanied by the blues guitarist Buddy Guy.

Ill health plagued House in his later years, and in 1974 he retired once again. He later moved to Detroit, Michigan, where he remained until his death from cancer of the larynx. He had been married five times. He was buried at the Mt. Hazel Cemetery. Members of the Detroit Blues Society raised money through benefit concerts to put a monument on his grave.

Honors
In 2007, House was honored with a marker on the Mississippi Blues Trail in Tunica, Mississippi.

In 2017, his single "Preachin' the Blues" was inducted in to the Blues Hall of Fame.

Discography

78-RPM recordings

Recorded May 28, 1930, in Grafton, Wisconsin, for Paramount Records

 "Walking Blues" (unissued and lost until 1985)
 "My Black Mama – Part I" 
 "My Black Mama – Part II"
 "Preachin' the Blues – Part I"
 "Preachin' the Blues – Part II"
 "Dry Spell Blues – Part I" 
 "Dry Spell Blues – Part II" 
 "Clarksdale Moan" (unissued and lost until 2006)
 "Mississippi County Farm Blues" (unissued and lost until 2006)

Recordings for Library of Congress and Fisk University

Recorded August 1941, at Klack's Store, Lake Cormorant, Mississippi.
There are some railway noises in the background on some titles, as the store (which had electricity necessary for the recording) was close to a branch line between Lake Cormorant and Robinsonville.
 "Levee Camp Blues", with Willie Brown, Fiddlin' Joe Martin, Leroy Williams
 "Government Fleet Blues", with Brown, Martin, Williams
 "Walking Blues", with Brown, Martin, Williams
 "Shetland Pony Blues", with Brown
 "Fo' Clock Blues", with Brown, Martin
 "Camp Hollers", with Brown, Martin, Williams
 "Delta Blues", with Williams

Recorded July 17, 1942, Robinsonville, Mississippi
 "Special Rider Blues" [test]
 "Special Rider Blues"
 "Low Down Dirty Dog Blues"
 "Depot Blues"
 "Key of Minor" (Interviews: Demonstration of concert guitar tuning)
 "American Defense"
 "Am I Right or Wrong"
 "Walking Blues" 
 "County Farm Blues"
 "The Pony Blues"
 "The Jinx Blues (No. 1)"
 "The Jinx Blues (No. 2)"

The music from both sessions and most of the recorded interviews have been reissued on LP and CD.

Singles
 "The Pony Blues" / "The Jinx Blues", Part 1 (1967)
 "Make Me a Pallet on the Floor" (Willie Brown) / "Shetland Pony Blues" (1967)
 "Death Letter" (1985)

Other albums

This list is incomplete. For a complete list, see external links.
The Complete Library of Congress Sessions (1964), Travelin' Man CD 02
Blues from the Mississippi Delta, with J. D. Short (1964), Folkways Records
The Legendary Son House: Father of Folk Blues (1965), Columbia 2417
In Concert (Oberlin College, 1965), Stack-O-Hits 9004
Delta Blues (1941–1942), Smithsonian 31028
Son House & Blind Lemon Jefferson (1926–1941), Biograph 12040
The Real Delta Blues (1964–1965 recordings), Blue Goose Records 2016
Son House & the Great Delta Blues Singers, with Willie Brown and others, Document CD 5002
Son House at Home: Complete 1969, Document 5148
Son House (Library of Congress), Folk Lyric 9002
John the Revelator, Liberty 83391
American Folk Blues Festival '67 (1 cut), Optimism CD 2070
Son House (1965-1969), Private Record PR 1
Son House – Vol. 2 (1964–1974), Private Record PR 2 (1987)
Father of the Delta Blues: The Complete 1965 Sessions, Sony/Legacy CD 48867
Living Legends (1 cut, 1966), Verve/Folkways 3010
Real Blues (1 cut, University of Chicago, 1964), Takoma 7081
John the Revelator: The 1970 London Sessions, Sequel CD 207
Son House (1964–1970), Document (limited edition of 20 copies)
Great Bluesmen/Newport, (2 cuts, 1965), Vanguard CD 77/78
Blues with a Feeling (3 cuts, 1965), Vanguard CD 77005
Masters of the Country Blues, House and Bukka White, Yazoo Video 500
Delta Blues and Spirituals (1995)
In Concert (Live) (1996)
"Live" at Gaslight Cafe, N.Y.C., January 3, 1965 (2000)
New York Central Live (2003)
Delta Blues (1941–1942) (2003), Biograph CD 118
Classic Blues from Smithsonian Folkways (2003), Smithsonian Folkways 40134
Classic Blues from Smithsonian Folkways, vol. 2 (2003), Smithsonian Folkways 40148
The Very Best of Son House: Heroes of the Blues (2003), Shout! Factory 30251
Proper Introduction to Son House (2004), Proper

References

External links
Memphis Beale Street Brass Note Submission Biography 
Illustrated Son House discography

Inaugural (1980) inductee to Blues Hall of Fame (bio by Jim O'Neal)
, History of National Reso-Phonic Guitars, Part 3
House Discography at Smithsonian Folkways
 (biography by Cub Koda)
Bob West interview of Son House March 16, 1968

Delta blues musicians
Country blues musicians
Blues revival musicians
Gospel blues musicians
Country blues singers
American blues guitarists
American male guitarists
Blues musicians from Mississippi
Resonator guitarists
Juke Joint blues musicians
Slide guitarists
Columbia Records artists
1902 births
1988 deaths
20th-century American criminals
People from Coahoma County, Mississippi
Deaths from cancer in Michigan
Paramount Records artists
20th-century American guitarists
Guitarists from Mississippi
People from Lula, Mississippi
American male criminals
Mississippi Blues Trail
African-American guitarists
20th-century African-American male singers
A rube is a country bumpkin or an inexperienced, unsophisticated person.

Rube is also sometimes used as a nickname, for Reuben, Ruben or Rubin.

Arts and entertainment
Rube Bloom (1902-1976), Jewish American songwriter, pianist, arranger, band leader, vocalist and writer
Rube Goldberg (1883-1970), American cartoonist, sculptor, author, engineer, and inventor
Rubin Lacey (1902-1969), American country blues musician, singer and songwriter

Sports

Baseball
Rube Benton (1890-1937), American Major League Baseball pitcher
Rube Bressler (1894-1966), American Major League Baseball pitcher
Rube Currie (1898-1966), American baseball pitcher and manager in the Negro leagues
Rube DeGroff (1879-1955), American Major League Baseball player
George "Rube" Deneau (c. 1879-1926), Canadian minor league baseball player, manager and promoter
Rube Dessau (1883-1952), American Major League Baseball pitcher
Rube Ehrhardt (1894-1980), American Major League Baseball pitcher
Rube Ellis (1885-1938), American Major League Baseball player
Rube Fischer (1916-1997), American Major League Baseball pitcher
Rube Foster (1879–1930), American baseball player, manager, and pioneer executive in the Negro leagues, member of the Baseball Hall of Fame
Rube Foster (AL pitcher) (1888-1976), American Major League Baseball player
Rube Geyer (1884-1962), American Major League Baseball pitcher
Rube Kisinger (1876-1941), American Major League Baseball pitcher
Rube Kroh (1886-1944), American Major League Baseball pitcher
Rube Lutzke (1897-1938), American Major League Baseball player
Rube Manning (1883-1930), American Major League Baseball pitcher
Rube Marquard (1886-1980), American Major League Baseball pitcher, member of the Baseball Hall of Fame
Rube Marshall (1890-1980), American Major League Baseball pitcher
Rube Melton (1917-1971), American Major League Baseball pitcher
Rube Novotney (1924-1987), American Major League Baseball player in 1949
Rube Oldring (1884-1961), American Major League Baseball player
Rube Parnham (1894-1963), American Major League Baseball pitcher
Rube Peters (1885-1965), American Major League Baseball pitcher
Rube Schauer (1891-1957), Major League Baseball pitcher
Rube Sellers (1881-1952), American Major League Baseball player in 1910
Rube Vickers (1878-1958), American Major League Baseball pitcher
Rube Vinson (1879-1951), American Major League Baseball player
Rube Waddell (1876-1914), American Major League Baseball pitcher
Rube Walberg (1896-1978), American Major League Baseball pitcher
Rube Walker (1926-1992), American Major League Baseball catcher and pitching coach
Rube Ward (1879-1945), American Major League Baseball player in 1902
Rube Yarrison (1896-1977), American Major League Baseball pitcher

Other
Rube Barker (1889-1958), American college football player and track athlete in the 1910s
Rube Bjorkman (born 1929), former collegiate ice hockey head coach
Rube Brandow (1898–1932), Canadian professional ice hockey player and college coach
Rube Ferns (1873-1952), American boxer, world welterweight champion in 1900 and 1901
Rube Lautenschlager (1915–1992), American college and professional basketball player
Rube Ludwig (c. 1920-1991), Canadian football player
Rube McCray (1904-1972), head football, men's basketball, and baseball coach and athletic director at the College of William & Mary
Rube Ursella (1890-1980), American football player-coach who played during the early years of the National Football League
Reuben Charles Warnes (1875-1961), British boxer

Outlaws
Rube Burrow (1854-1890), American Old West train robber and outlaw

See also
Hey Rube (disambiguation) 

Lists of people by nickname
Pejorative terms for people Up the Junction is an episode of the BBC anthology drama series The Wednesday Play directed by Ken Loach and produced by James MacTaggart. It was first broadcast on 3 November 1965 on BBC 1. The play was adapted by Nell Dunn and (uncredited) Ken Loach<ref>Although uncredited in this context, Loach contributed to the script and was paid a fee for his work. See Jacob Leigh The Cinema of Ken Loach: Art in the Service of the People, London: Wallflower Press, 2002, p.183, n.13. Dunn has acknowledged Loach's work on the script, see Stephen Lacey [https://books.google.com/books?id=QJv6E25XDHEC&pg=PA39 Tony Garnett], Manchester: Manchester University Press, 2007, p.39</ref> from Dunn's short story collection of the same name. It tells the stories of three young women living in North Battersea and Clapham and, to a lesser degree, their boyfriends.

Plot
Three young female factory workers, Rube, Sylvie and Eileen, go out to a pub where they meet three young men, Terry, Ron and Dave. They flirt, go on a date to a lido and pair off, each couple developing a significant relationship.

Terry and Rube soon have sex at Rube's flat while her mother is out. Rube becomes pregnant and must seek an illegal back-street abortion, which is botched, causing Rube to suffer a miscarriage. Although Terry and Rube continue their relationship after the abortion, they begin to grow apart, and finally have a row. Terry speeds off on his motorcycle, crashes it, and dies.

Sylvie marries Ron, but soon marital troubles develop, culminating in the couple having an ugly public row in the street outside a pub that Sylvie visited with Rube and Eileen.

Dave is already married when he meets Eileen, but he is unhappy with his wife, and he and Eileen have a romantic affair. In addition to his job, Dave also has a criminal history of theft. He is finally caught and imprisoned. Eileen remains loyal to him.

Cast
 Carol White - Sylvie
 Geraldine Sherman - Rube
 Vickery Turner - Eileen
 Tony Selby - Dave
 Michael Standing - Terry
 Ray Barron - Ron
 Rita Webb - Mrs. Hardy
 Hilda Barry - Old May
 Jessie Robins - Fat Lil
 George Sewell - Barny, the Tallyman
 Ann Lancaster - Winnie, the abortionist

Production
The filmed play has an episodic structure. As story editor Tony Garnett's biographer Stephen Lacey has written, the play "is less concerned with its narrative high-points ... and is motivated more by the seemingly haphazard interplay of accident and incident".

The play included documentary elements, such as an interview with a doctor advocating a change in the law to prevent 35 deaths each year from back-street abortions. The inclusion of documentary material caused confusion among some viewers who were unsure whether they were watching a fictional play or the continuation of a news broadcast that had aired just before The Wednesday Play.

Reception
Audience research found that the programme was viewed by about 10 million people. The BBC received 400 complaints about the broadcast, mostly about its bad language and depiction of abortion. Christian morality campaigner Mary Whitehouse, responding to Up the Junction, wrote in her book Cleaning-up TV (1967):"The sooner these terrible back-street abortionists are put out of business the better! True. But what about a play which would make it clear that any kind of abortion, legal or otherwise, has dangers to mental and bodily health far greater than natural childbirth. How about a programme which demonstrate that clean living could cut out a great deal of this problem at the root?"

Some commentators objected to the merging of documentary elements with drama at the time of the play's transmission, but Loach rejected the criticism, stating that "we were very anxious for our plays not to be considered dramas but as continuations of the news." Loach went on to use the same technique of including documentary elements in the 1966 television play Cathy Come Home.

The antagonism to the play included the upper echelons of the BBC itself. A proposal to repeat the play was rejected by the governors in the summer of 1966 who noted the "great offence" the piece had caused at its first screening. Trade unionist Dame Anne Godwin, a BBC governor who had herself not seen the play, was minuted at a meeting in June 1966 as complaining of "too great a tendency ... to concentrate on the 'sick' elements in society as sources from which to illustrate contemporary problems."

The play contributed to the debate leading up to the Abortion Act 1967, which legalised the termination of a pregnancy in the UK. Tony Garnett, whose work on the project was more extensive than his formal brief as story editor, commented in 2013 about the "very, very personal" nature of this play. When Garnett was a child, his mother had died following a back-street abortion, and his father committed suicide less than a month later.

A film version based on Dunn's original short stories was released in 1968. In 2011, the television play was included in the 6 DVD box set, Ken Loach at the BBC''.

References

External links
 
 

1965 television plays
BBC television dramas
Films directed by Ken Loach
Television episodes about abortion
Social realism